Carnival ( Manhã de Carnaval )

~ from the film "Black Orpheus"

Music by Luiz Bonfa and lyrics by Antonio Mariz, 1960

English lyrics by George Weiss, Hugo Peretti and Luigi Creatore ( Hugo & Luigi )

1st recording 1963 ~

With Mitchell Ayres' Orchestra

Produced by Hugo & Luigi

Recorded in Webster Hall, New York City

Recording Engineer: Bob Simpson

Recording Time 3:24

Recorded March 18, 1963 ~ Matrix No. PHA1-3736 Take 8

Album issue: RCA-LP12 "The Songs I Love" LSP-2708 STEREO 1963

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2nd recording 1966 ~

Arranged and Conducted by Nick Perito

Choral Director: Ray Charles and the Ray Charles Singers.

Produced by Andy Wiswell

Recorded in RCA Victor's Studio A, New York City

Recording Engineer: Bob Simpson

Final Recording Time 2:39

Recorded February 28th, 1966 ~ Matrix No. SPA1-6235 Take 17

Album issue: RCA-LP12 "Lightly Latin" LSP-3552 STEREO 1966

Quarter Track Reel "Lightly Latin & In Italy" TF3-5006 STEREO 1966

Lightly Latin & Perry Como In Italy - Quarter Track Reel

Guitarist Luiz Bonfa and composer Antonio Carlos Jobim, who both rose o fame during the bossa nova craze of the 1960s, collaborated on the score to the gorgeous Brazilian film 'Black Orpheus.' This haunting melody was the movie's leitmotif; it threaded through the story of Orfeo and Eurydice and was heard in a variety of contexts. When English lyrics were written for it, the song became 'A Day in the Life of a Fool,' the sad, wan story of a dejected lover. And that's what Perry sings here very movingly, with chorus and orchestra and a gentle bossa nova beat.

( notes from "The Incomparable Como" Readers Digest UK compilation 1975 )

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Notes: ~ Perry's first recording of "Carnival" is among his last with Mitchell Ayres' Orchestra and the last full album production by Hugo & Luigi. He recorded next in Nashville in February, 1965, his first recording session there, but then returned to New York and more familiar territory with the RCA facilities in Webster Hall and a more traditional all-round recording atmosphere. Even long-time Como recording engineer Bob Simpson was at the controls. The one change, however, was having Nick Perito in charge of arrangements and orchestration in place of Mitchell Ayres who had recorded with Mr. Como almost exclusively since 1949. Another change was from the production of Hugo & Luigi to Andy Wiswell. There is probably no better comparison between these two camps than with this song recorded first in 1963 for "The Songs I Love" and then again in 1966 for "Lightly Latin." The two recordings are different in every respect except for Mr. Como's performance. He is equally at ease in both environments. The beauty of the Ayres' arrangement is with the simplicity of the orchestration but the many textures and lush Latin orchestration from the Perito approach is equally captivating. While some may prefer one approach to another, Mr. Como's ease within either medium is quite remarkable and especially considering that he had just returned from recording in Nashville with Chet Atkins and the Anita Kerr Quartet and equally at ease in an atmosphere totally foreign to him.